What's Contemporary Now‪?‬ What's Contemporary

Paloma Elsesser is a trailblazing model, advocate, and writer heralded for her unapologetic celebration of body positivity and diversity in the fashion industry. Growing up in Los Angeles, she navigated various artistic pursuits before finding her niche in modeling—later going on to win Model of the Year at the 2023 Fashion Awards. Her career skyrocketed after being discovered on Instagram by Pat McGrath, leading to collaborations with renowned designers, brands, and publications like Miu Miu, Vogue, i-D, Marni and Balenciaga. Elsesser's advocacy extends beyond the runway as she addresses issues of representation and inclusivity. With her distinctive style, eloquence, and charisma, she continues to redefine the model and inspire a generation globally.
Episode Highlights:

Born in London and raised in California, Elsesser is of Chilean, Swiss, and African American descent to a family of thinkers and what she likes to call “punk” as well as spiritual.

She was encouraged to lean into all of her interests, and now considers applying the curiosity she experienced in her childhood to her work. She studied psychology and literature in New York City.

She was interested in mental health, substance abuse, literature, and writing, often writing and publishing her poetry throughout her adolescence. 

Her writing for The Cut was profoundly personal and a cathartic opportunity to discuss representation. 

Elsesser surrounds herself with a community (a “social diet” of people) who also prioritize her commitment to openness and advocacy, though she feels the language around and scope of cultural diversity is still limited. 

She navigates the intersection of her voice and communicating the things that matter to her while also understanding the complexities of the commercial aspect of being a talent by pacing herself with slow change and being “obsessed with accountability.”

Having stepped back momentarily from social media, Elsesser attempted to “navigate unfettered burnout” of microdramas, gaining confidence from conversations with Richie Shazam and Julia Fox.

She’s chosen sobriety for 12 years and sees her lifestyle as a way of both avoiding pain and avoiding causing pain. 

Joking that what’s contemporary now is Ozempic, she says what is always contemporary is curiosity.


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While fashion has become culture's greatest Trojan horse, it's only natural that there should be a show exploring both the contemporary landscape and modern-day human experience through its lens. You'll find both the unique and universal in these conversations that illuminate the pulse of our times as we ask different creatives and thought leaders the ever-present question, "What is contemporary now?" 
In our upcoming season, we've lined up extraordinary guests, including a Pulitzer Prize-winning fashion critic, a brand founder who could give a masterclass on how to do it right and win at life, and award-winning designers, magazine editors, and cultural icons, both established and new.
Tune in for new episodes starting Monday, May 27 with Paloma Elsesser, Greg Krelenstein, Katie Grand, Robin Givhan, Dara, Suzanne Koller, Pierre Rougier, Zoe Ghertner, Willa Bennett, Erik Torstensson, Daphne Guinness, and many more. 
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Hanan Besovic, the content creator and fashion commentator behind @ideservecouture, shares his unconventional journey and outsider perspective into the fashion world. Moving from Croatia to the US, Besovic garnered a significant following on his platform during the COVID lockdown, using it to channel and convey his perspective on fashion—which he comes by through sheer obsessive passion. His honest and timely critiques often challenge traditional norms in the industry.
Besovic details the evolving role of influencers, advocating for discernment in evaluating their contributions to fashion discourse. Expressing admiration for Gen Z’s assertiveness and knowledge, he navigates the industry with a focus on community-building and networking, while maintaining an authenticity that he sees as all too often lacking on social media. His overwhelming fashion insight gives him a unique perspective laced with nuance, allowing him to see what’s contemporary now as both the influence and image of businesswoman Kim Kardashian, as well as pervasive mediocrity that comes from the industry’s exclusivity and commercialism.
Episode Highlights:

Serendipitous start: Introduced to fashion in 2010 after seeing a McQueen show, Besovic transitioned from hospitality to fashion after a move from Croatia to the US and following a layoff from hotel work during the pandemic.

Following a passion: Though he treated fashion as a hobby, joking that he failed algebra because of his obsession with Giovanna Battaglia Engelbert, he found a role in the scene during the COVID lockdown.

Superfan: Citing Plato’s Atlantis and the Horn of Plenty, Leigh Bowery lips, and Dior silhouettes, Besovic recounts how McQueen’s show was “a perfect introduction to fashion because I got a history of fashion in 13 minutes.”

Ending up on a panel for Show Studio, through which he had first been introduced to the fashion world, was a full-circle moment for Besovic.

@ideservecouture: Having been called a content creator, a fashion critic, and an influencer, Besovic sees himself as a commentator, remarking on how the fashion world has changed to include more critiques like those pushing for body diversity. 

On influencer culture: Besovic sees the importance of having a discerning view on social media, where unresearched or misinformed influencer opinions on fashion proliferate alongside those of influencers who have dug deeper into the contemporary moment and its historical roots.

Gen Z: Likening the feeling of maintaining an outsider perspective among the insiders to those that look down on Gen Z, Besovic notes that he admires the younger generation’s activeness and knowledge of their value.

Organic growth: Quoting a drag queen, Besovic says that “goals are preplanned disappointments” and prefers relying on organic personal—and social media—growth.

Navigating the industry: Besovic’s advice to young designers is to work more toward networking and building community, as he does on his platform.

“Nice, genuine, and down to earth”: Besovic’s contemporaries don’t have the same egos as most in the industry, and Besovic himself is happy to forgo sources of status, like physically attending the shows. 

“I like to know the reality of the things.”: When asked whether the world needs the 24/7 dream or fantasy of fashion on social media, Besovic insists that the world needs to know instead that everything’s not as perfect as it looks.

When clothes speak for themselves: Besovic says storytelling is crucial to a collection, except when garments are too good to need a narrative.

Dream job: Besovic thinks he would be a good consultant for brands like Givenchy, which don’t understand their worth or history. 

Polarities: For Besovic, the Kardashians are what’s contemporary now (still), because “no one can dispute how smart of a businesswoman she [Kim] is.” On the other hand, additionally, what is contemporary now is “mediocrity, it’s

French photographer Robin Galiegue has carved a distinctive niche in the world of contemporary photography, captivating audiences with a refreshing vision of beauty, style, and attitude. Galiegue's early experimentation with makeup, styling, and photography laid the foundation for a career marked by raw energy and a timeless aesthetic. Seamlessly blending fashion, portraiture, and reportage, his notable projects include a recently published book and work with directional publications like Vogue Italia, Self Service, and Harper’s Bazaar France, and collaborations with brands such as Saint Laurent, Isabel Marant, Tom Ford, and Hermès. In a world where he sees people molding into different personas online, Galiegue believes what is contemporary now is being oneself, in work and in life.
Episode Highlights:

Early ambitions: Born and raised in Lille, France, to artistic-minded parents, Robin Galiegue always had ambitions to move to a bigger city and first felt drawn to images and fashion at 14 in directing a photo shoot with his sister. 

The big move: Dropping out of school at 16, Galiegue attended photography school in Paris, deciding over the course of five days. 

Without reference: Coming to school with zero cultural exposure to photography, Galiegue gained technical expertise and was driven to work, though he knew little English and was not assisting. 

Nerves: Even as a big name in the industry today, Galiegue is nervous about approaching collaborations, such as with legendary model Linda Evangelista.

Hard to sit still: Being in Paris—or in large, bustling cities—incites Galiegue’s desire to work rather than relax; he sees them as villages that offer bursts of energy.

“Shooting has to be fun”: Known in the industry as a kind presence, Galiegue has an intuitive understanding of when to be firm and when to prioritize kindness. 

Merging visions: Galiegue enjoys working with brands, stylists, and collaborators with strong voices to make something exciting and new. 

Finding inspiration and peace: Traveling, meeting new people, having friends not in the fashion industry, and discovering new cultures keep Galiegue engaged in his creative work after hours. 

What’s contemporary now: Galiegue sees so many people playing roles on social media, so what’s contemporary or necessary now is being yourself. 

Fear of AI: Galiegue is not interested in AI and is more scared of its potential to replace collaborators and artists.


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Gill Linton is the cofounder and curatorial persona behind Byronesque, a digital boutique department store that uniquely merges editorial content with a focus on contemporary vintage fashion. As editor-in-chief, Linton is a thought leader in the realm of editorial-based e-commerce and has long been a go-to brand strategist well-versed in the subculture of vintage fashion. Hailing from London, Linton divides her time between Paris and New York, collaborating with designers, consultants, editors, stylists, and other in-the-know individuals to reissue vintage finds and preserve creative brand histories. For her, it is essential to encourage people to be more thoughtful and slower when buying clothes—institute a cultural shift in shopping behavior.
Episode Highlights:

“The odd one out:” Born in London into a Scottish family, Linton got her start at M+C Saatchi, where she was able to pursue her passion for advertising, branding, and creating content.

Serendipitous start: From her first job, she moved to BBC Radio 1, which was a state-run representation of youth culture. She was able to move into the fashion industry through a move to New York to work with the agency of entrepreneur Russell Simmons. 

Brand evolution: Linton began in the fashion industry at a time when concepts like “brand heritage” weren’t considered in traditional marketing. 

Bridging gaps: She cofounded Byronesque, set apart from traditional resale sites, to focus on “contemporary vintage” with a global network of vintage sellers and private collectors.

Resale is the new fast fashion: increased volume and perpetuated ideas of buying and selling in the resale sector have led Linton, through Byronesque, to “encourage people to be a little bit more considered, slower, and to keep things for a long time.”

Fighting flip culture: Byronesque believes the clothes it sells and stories it tells have more meaning than the mainstream gives them.

Careful curation: Making Byronesque “a specialist environment” for vintage and “future vintage” of luxury brands, Linton has been authenticating, partnering with archive teams, and organizing concessions for luxury brands in an attempt to provide more agency and control over resale markets and brand image. 

Reissuing vintage: Byronesque has reissued vintage finds from Helmut Lang, Vex Generation, Claude Montana, THREEASFOUR, and other brands that have been producing iconic items in decades past.

Collector’s items in fashion: Her concern with keeping clothing as investment pieces drives a blockchain-based authentication process, and brings up the power of narrative and the importance of story.

What’s contemporary now: Real talent, Linton says, and she hopes to see a resurgence of talent among a generation and in an evolved industry where that’s not always necessary.


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Writer, editor, and creative director Thom Bettridge navigates the realms of storytelling, experience curation, and audience expansion with seasoned expertise. From editorial leader at 032c, Highsnobiety, and Interview to Head of Creative and Content at SSENSE, Bettridge has come a long way since his beginnings as a student of philosophy in New York City. His series of compelling statements showcase an impressive grasp of worldbuilding, adding context to the evolving landscape where editorial content and e-commerce converge. In an industry where magazines and retailers traditionally kept their domains separate, Bettridge’s approach to keeping consumers engaged signals a potential future trend for others. His insights reflect a shift toward a more integrated and dynamic relationship between content creation and commercial endeavors. Bettridge has seen—and been behind—much of the changes to the fashion industry as it enters an inundated era obsessed with viral moments. His connectedness to contemporary culture is only rivaled by his closing remarks: that true contemporariness might be found in uncharted, offline territories. 
Episode Highlights:

After becoming interested in art criticism via philosophy studies, Bettridge started an art space in Medellín, growing attracted to the fast-paced evolution of Colombian culture and society. 

On interning and moving up through the ranks in New York: “That was my idea of hell. So I wanted to go somewhere where I could make more of an impact even if it was an uncertain terrain.” 

Noting that “the only two things that were still alive and kicking when I finished school were fashion and, like, tabloids,” Bettridge explains how he came to fashion through his love of magazines and editing them. 

The solitary nature of writing didn’t suit his personality, and Bettridge found he enjoyed editing more, with creative direction being an extension of that kind of collaboration.

“360 control over how a story looks and appears”: Creative direction was never a target for Bettridge, who considers it more of a byproduct of writing and editing—what he was already doing—and born of necessity along the way.

His first foray into magazine editing was at 032c, where he gained firsthand experience observing creative direction before moving on to Interview. 

Considering philosophy as a way of creating and applying systems, Bettridge sees an analogy in being a storyteller adept at making connections. 

Coming to SSENSE as the company was nearing its 20th anniversary, Bettridge leaned on the experiences of the people who had been at the company for a long time.

Bettridge has a strong understanding of brand DNA, pushing the company further into its “anti-nostalgic, anti-heritage” heritage. 

“Mind-share”: Bettridge’s creative process aligns naturally with SSENSE’s ability to tap into a young, digitally native generation, which communicates via social media.

Using a metaphor of a hotel with a great coffee shop, Bettridge expresses the relationship between editorial content and e-commerce, where content regularizes exposure to a company and signals what it’s about. 

To cater to a younger generation, Bettridge notes that youth culture demands that brands be good storytellers that tap into the current social and political moments. 

Old-school print magazines tell stories through image placement (much like Instagram), but in a way, that decisively marks a certain zeitgeist, which Bettridge says somewhat outlasts the neverending inundation of social media.

Bettridge remarks on learning that intuitively marked anchors within a magazine or brand’s vision create cohesion and that visual storytellers are the individuals most capable of creating brands with palpable foundations or clear identities. 

What’s contemporary now? The potential for offline culture, a culture that “isn’t solipsistic or self-isolated.”


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